COMPLIMENTS  OF  THE 
JOHN:  LEVY  'GALLERIES 
;r4  EAST  FORTY-SIXTH 
.STREET,  NEW  YORK 
MCMXVIII 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/groupofpaintingsOOjohn 


A GROUP  OF 

PAINTINGS 

BY 

MURPHY,  TRYON,  WALKER 
AND  WYANT 


NEW  YORK 
PRIVATELY  PRINTED 


This  edition  is  limited  to  two 
hundred  and  fifty  copies,  of 
which  this  is  No.  | 0 b, 


Plates 


Catalogue 

No.  1 

THE  MILK  YARD 

Size:  28  x 38  inches 

HORATIO  WALKER 

(Shown  at  the  Louisiana  Purchase  Exposition,  S.  Louis,  1904) 
One  of  this  artist’s  most  distinguished  paintings  of  Canadian 
habitant  life  on  Grande  Isle  in  the  St.  Lawrence  River  below 
Quebec.  In  a blaze  of  dazzling  sunshine  streaming  across  the 
canvas  from  left  to  right,  a farmer  and  his  wife  are  seen  at  their 
evening  task  of  milking  a herd  of  cows.  The  arresting  notes  in 
the  picture,  secondary  only  to  its  sunlight  effect,  are  the  woman 
and  cow  in  the  foreground,  her  greenish  blue  skirt  and  red  petti- 
coat and  the  dun  colored  cow  forming  an  extraordinarily  brilliant 
piece  of  painting.  Two  cows  lie  at  the  base  of  the  tree  whose 
low  branches  overhang  the  barnyard  and  are  touched  with  the  hot 
sunlight,  and  toward  the  right  is  seen  the  farmer  milking,  his  cart 
with  milk  cans  at  the  extreme  right. 


I 


No.  2 


No.  2 

THE  THRESHER 

Size:  18 % x 14%  inches 

HORATIO  WALKER 

Labor  and  the  man  I paint,  is  the  manner  in  which  Horatio 
Walker  paraphrases  the  sonorous  Latin  phrase  concerning  arms 
and  the  man  through  the  medium  of  his  art.  Toil  of  the  cheerful 
order  is  the  motive  of  this  simple  composition,  toil  that  is  at 
once  inspiriting  and  picturesque,  and  which  has  its  rewards  in 
the  citizenship  of  a free  country  rather  than  those  of  a rustic 
kind.  At  one  end  of  a barn,  a Canadian  farmer  is  seen  threshing 
grain.  Its  yellow  stalks  fill  the  floor  and  are  seen  bursting  out 
through  the  long  bin  at  his  right.  At  the  left  of  the  picture  his 
discarded  blue  smock  makes  a bright  gleam  of  color,  and  his 
weather-browned  hands  and  face  are  accented  against  the  dusky 
brown  of  the  barns  gable  end.  The  upflung  flail  and  the  tense 
figure  give  an  effect  of  human  power  to  the  picture  that  completes 
to  the  full  its  first  impression. 


No.  3 

A STY 

Size:  141/2  x 18  inches 
HORATIO  WALKER 

The  yellowish  whites  and  vivid  pinks  of  a sow’s  coarse  skin  have 
appealed  to  many  painters  but  none  more  so  than  to  this  artist 
who  has  rendered  those  tones  with  a strength  in  one  and  a delicacy 
in  the  other  more  brilliantly  than  even  Morland  himself.  In  this 
study  one  sees  a sow  and  pig  muzzling  in  the  yellow  stalks  of 
some  grain  that  covers  the  earth  at  the  bottom  of  their  sty. 
Another  white-and-pink  sow  lies  sleeping  partly  in  the  shadow  of 
a low-branched  tree  at  one  end  of  the  sty.  The  green  leaves  of 
the  tree  and  the  weather-stained  boarding  of  the  sty  makes  agree- 
able accents  of  color  here  while  over  the  top  of  the  boarding  is 
caught  a glimpse  of  a sunny  landscape  with  a white-walled  cot- 
tage near  at  hand. 


No.  4 


MILKING  TIME 

Size:  14  x 20  inches 

HORATIO  WALKER 

A little  brook  runs  downward  through  the  center  of  the  compo- 
sition toward  the  foreground  with  rich  green  fields  on  either  bank. 
On  the  right  a woman  in  a faded  blue  gown  is  seated,  milking  a 
white  and  black  cow,  while  the  gable  end  of  a little  outhouse, 
beside  which  some  chickens  make  high  notes  of  color,  is  beyond 
her  at  the  extreme  right  hand  side  of  the  canvas.  Trees  cut 
partly  across  the  center  of  the  view  throwing  darkling  shadows 
over  the  foreground  beyond  which  is  a broad  expanse  of  lush 
green  meadows  with  a long  line  of  hills  in  the  remote  distance, 
meadows  and  hills  all  overarched  by  a tender  luminous  evening  sky. 


No.  5 

SHEPHERDESS  AND  SHEEP 

Size:  16  x 26  inches 

HORATIO  WALKER 
(Water  Color) 

This  composition  by  Mr.  Walker  is  the  only  one  we  know  from 
his  hand  that  immediately  suggests  Holland.  His  shepherdess  in 
a coarse  cape  and  a faded  red  skirt  stands  where  dunes  meet 
sands  on  a rising  bit  of  land  looking  away  from  the  spectator. 
Her  sheep  crop  the  coarse  herbage  at  her  feet  to  the  left  and 
beyond  is  white  sand  and  a faint  glimpse  of  the  blue  sea.  In  the 
center  of  the  picture  beyond  the  figure  is  a single  tree  with  a 
long  dense  thicket  of  red  tinted  beach  bushes  curving  away  to  the 
distant  sands. 


No.  6 : 

CANADIAN  PASTORAL 

Size:  18  x 26  inches 

HORATIO  WALKER 

Labor’s  epic  quality  is  transmuted  into  something  more  akin  to 
the  lyrical  in  this  typical  canvas  by  Mr.  Walker.  The  spectator 
is  made  to  feel  the  dull  round  of  daily  toil  in  the  slowly  plodding 
white  horse  and  in  the  habitant  farmer  pressing  heavily  on  the 
rude  harrow.  But  more  compelling  and  uplifting  to  the  spirit 
is  the  sense  of  springtime  that  pervades  the  whole  canvas,  in  the 
air,  in  the  upturned  rich  brown  soil,  in  the  greening  trees,  the 
brilliant  sunshine  pervading  the  whole  scene. 


I 


No.  7 

CONTENTMENT 

Size:  10  x 14  inches 

HORATIO  WALKER 
(Water  Color) 

A veteran  among  the  younger  and  more  vigorous  French  Cana- 
dian habitants  of  Grande  Isle  in  the  St.  Lawrence  that  Mr. 
Walker  loves  to  paint  sits  in  idleness,  just  within  the  door  of  his 
cottage.  He  wears  the  traditional  blue  smock  and  red  muffler  and 
a knitted  cap  of  blue  is  pulled  down  on  his  head.  Smoking  a clay 
pipe  his  pursed  up  lips,  his  ruminative  eyes  and  hands  clasping  his 
legs,  give  him  all  the  quality  of  determined  character  that  is  the 
note  of  these  people  at  their  best.  Behind  him  is  a table  with 
a bowl  and  jug  on  it,  and  through  the  open  door  one  sees  a bit 
of  vegetable  garden,  a young  green  tree  and  the  bright  blue  sky. 


No.  7 


No.  8 

WINTER 

Size:  24  x 30  inches 

HORATIO  WALKER 

In  an  opening  in  a grove  of  trees  a French  Canadian  habitant 
is  guiding  a team  of  oxen  that  are  hauling  a freshly  cut  birch 
log  over  the  thin  snow.  The  brown  and  yellow  stubble  thrusting 
up  through  the  light  mantle  of  snow  makes  sharp  notes  of  color 
against  the  white  as  do  the  man’s  blue  smock,  red  muffler,  and 
the  white  masks  of  the  laboring  ox  team  as  they  plod  up  a slight 
slope.  Above  the  bare  trees  a wintry  sky  of  pale  blue  and  mauve 
completes  this  superb  scene  of  wintry  labor. 


HOMEWARD  BOUND 

Size:  9%  x 14  inches 
HORATIO  WALKER 


Along  a clay  road  plods  a team  of  white  horses,  a farm  hand  in 
a blue  smock  riding  the  nearest  horse,  sitting  leisurely  and  lazily 
sidewise.  A clay  bank  topped  with  thick  bushes  is  behind  the 
team  and  a blue  sky  barred  with  greenish  clouds  overhangs  the 
landscape.  The  road  runs  away  towards  a farmhouse  and  a 
church  whose  roofs  and  steeple  rise  above  the  trees  in  which  they 
are  embowered. 


iVo.  10 


No.  10 

A WAYSIDE  POOL 

Size:  20  x SO  inches 

A.  H.  WYANT 

Across  a tiny  pool  formed  in  a slight  hollow  in  rough  pasture 
land  the  eye  is  carried  to  the  horizon  in  an  illimitable  distance. 
Beneath  a blue  sky  that  gleams  through  masses  of  yellow  grey 
clouds,  an  outcropping  of  lichen  covered  rocks  is  seen  at  the 
left  of  the  pool  topped  by  a few  thick  bushes.  At  the  right  a 
hillside  slopes  gently  to  the  sky  line,  rocks  and  a little  clump  of 
thickly  growing  trees  making  a bold  accent  of  color  in  the  com- 
position. A familiar  view  touched  into  beauty  by  Wyant’s  genius 
for  such  realization. 


No.  11 

OPENING  IN  THE  WOODS 

Size:  14  x 17  inches 
A.  H.  WYANT 

Through  an  arch  formed  by  the  overhanging  russet  leafage  of 
some  old  birches  with  lichen-patched  trunks  the  spectator  sees  a 
curve  of  deep  powder-blue  sky.  The  trees  stand  on  a little  rise 
of  ground  forming  a natural  terrace,  one  face  of  which  is  formed 
of  a patch  of  limestone  that  forms  one  side  of  a natural  basin 
for  a pool  or  spring  in  the  foreground  that  is  almost  enclosed  by 
rough  ground  on  either  side.  This  is  Wyant  in  a more  vigorous 
mood  than  is  his  usual  mood  which  makes  the  canvas  all  the  more 
distinguished. 


No.  11 


No.  12 


No.  12 

SEPTEMBER  MORNING 

Size:  10  x 15  inches 
A.  H.  WYANT 

Under  the  glowing  sunlight  of  an  early  autumn  day  that  radiates 
a crystaline  clear  atmosphere  an  old  road  leads  along  the  face 
of  a hillside  that  is  broken  with  weather  stained  boulders.  At  the 
left,  in  a neglected  bit  of  rough  pasture  stand  two  trees  with  a 
clump  of  trees  in  the  distant  background.  Up  the  crest  of  the 
hill  towards  the  right  marches  another  grove  of  trees  all  crisped 
reddish  brown  with  the  first  touch  of  fall  and  over  all  is  an 
expanse  of  radiant  sky  veiled  with  clouds  of  the  “thunder  head” 
variety. 


A SYLVAN  SANCTUARY 


Size:  16  x 12  inches 
A.  H.  WYANT 

Curving  around  from  right  to  left  a line  of  trees  that  create  an 
effect  of  great  age  shuts  in  a little  sylvan  sanctuary.  Above  the 
trees  are  grayish  white  clouds  that  gleam  more  brightly  through 
the  openings  between  the  tree  trunks  below.  What  appears  to  be 
an  old  path  meanders  from  the  center  of  the  foreground  in  a 
curve  up  into  the  shadow  of  the  trees. 


No.  13 


No.  14 


No.  14 

EVENING 

Size:  19  x 251/2  inches 
A.  H.  WYANT 

A glowing  sky,  all  flecked  with  glowing  clouds  through  which  one 
catches  glimpses  of  greenish  blue,  fills  the  whole  canvas  from  the 
horizon.  At  the  right,  across  a lush  green  meadow,  is  seen  a grove 
of  trees,  their  tops  bathed  in  the  sunlight,  their  trunks  dark  in 
shadow.  A pool  in  the  foreground  and  at  the  left  is  a clump  of 
birches,  one  being  detached  from  the  rest  and  standing  out  as  a 
natural  pattern  against  the  radiant  heavens. 


No.  15 

A BIT  O’  WEATHER 

Size:  11  x 8*4  inches 
A.  H.  WYANT 

Blustery,  smoke-colored  clouds  are  piling  up  against  a blue  sky 
that  gleams  in  turquoise  tints  behind  this  veiling.  Toward  the 
horizon  the  clouds  are  touched  with  white  while  the  tiny  sheltered 
pool  in  the  foreground  mirrors  both  hues  on  its  placid  surface. 
Wild  open  country  stretches  away  from  the  eye  with  a suggestion 
of  woods  and  a few  spindling  trees  to  break  its  desolate  monotony. 


No.  15 


91  ‘°M 


No.  16 

LANDSCAPE 

Size:  8%  x 10%  indies 

A.  H.  WYANT 

A herd  of  cows  have  made  their  way  into  a thick  undergrowth 
that  makes  for  a happier  color  scheme  for  the  artist  than  it  does 
for  good  fodder.  The  tawny  notes  of  color  in  the  cows,  bushes 
and  the  few  trees,  all  autumn-tinted,  were  obviously  what  caught 
Wyant’s  eye  and  he  set  them  down  under  a windy  sky,  leaden 
overhead,  touched  with  high  lights  toward  the  horizon.  A little 
picture  richly  charged  with  keen  observation  and  the  note  of 
the  lyrical. 


No.  17 

RUSSET  AND  GOLD 

Size:  19  x 14  inches 
A.  H.  WYANT 

A mist  enshrouded  hill  rises  up  into  a pale  evening  sky  flecked 
with  rosy  clouds.  Between  the  rough  foreground  (all  russet  and 
brown),  and  the  thick  woodland  at  the  base  of  the  hill,  stand  four 
trees — russet,  green  and  gold — on  the  bank  of  a quiet  expanse 
of  water.  An  uncommon  variant  in  Wyants’  composition  made 
all  the  more  personal  and  distinguished  thereby. 


No.  17 


No.  18 


No.  18 

LANDSCAPE  STUDY 

Size:  11^2  x 14 V2  inches 

A.  H.  WYANT 
(Water  Color) 

Water  colors  by  this  great  American  landscape  painter  are  very 
rare.  In  this  one  he  has  merely  set  down  a study  of  such  a humble 
bit  of  outdoors  as  always  appealed  to  his  reserved  nature.  Its 
elements  consist  merely  of  a thicket  of  green  bushes,  high  and 
definite  at  the  left,  low  and  formless  at  the  right  with  a green 
foreground  and  a grey  sky.  Yet  Wyant  is  written  clear  over 
every  inch  of  it. 


No.  19  ■ 

LANDSCAPE 

Size:  IOV2  x 144/2  inches 
A.  H.  WYANT 
(Water  Color) 

This  impression  of  a bit  of  nature  of  a summer’s  day  shows  a 
stretch  of  greening  meadow,  a line  of  trees  beyond  (the  chief  note 
in  the  picture)  and  the  suggestion  of  one  of  this  artist’s  beloved 
mountains  in  the  hazy  background.  Over  all  arches  a blue  and 
white  sky  that  gives  the  character  of  hot  midsummer  to  the  whole 
scene. 


No.  19 


No.  20 


No.  20 

LANDSCAPE 

Size:  16  x 24  inches 

DWIGHT  W.  TRYON 
(Panel) 

A screen  of  trees  just  beginning  to  show  their  first  feathery  bloom 
of  the  springtime  extends  across  the  composition  along  an  old 
stone  wall.  Behind  them  the  light  of  the  sinking  sun  glows  with 
a fire  that  pierces  the  openings  between  the  trees  and  tints  the 
clouds  above  with  opalescent  light.  The  oncoming  of  night  is 
felt  in  the  darkling  shadows  at  the  left  that  fall  over  clouds  and 
trees.  From  the  immediate  foreground  to  trees  and  wall  extends 
a bit  of  rough  land,  diversified  by  outcropping  rocks  and  a tiny 
pool  of  water. 


No.  21 

THE  AUTUMNTIDE 

Size:  16  x 24  inches 
DWIGHT  W.  TRYON 
(Panel) 

The  windy  lowering  sky  and  the  impression  of  autumnal  desolation 
are  the  dominant  moods  created  by  this  unusual  panel  from  Mr. 
Tryon’s  hand  which  bears  the  date  1899.  A few  spindling  bare 
trees  are  in  the  foreground  and  behind  them  are  some  tender 
bushes  still  heavy  with  their  foliage  in  olive  and  green  tones. 
Brown  leaves  are  whirling  away  before  the  gale  that  sends  sundry 
grey  clouds  across  the  leaden  sky.  Here  is  the  clamor  of  the 
dying  year  set  down  in  terms  of  tragic  glamour. 


No.  21 


No.  22 


No.  22 

SUNSET 

Size:  26  x 32  inches 
DWIGHT  W.  TRYON 
(Panel) 

Upspringing  from  the  edge  of  a soft  green  pasture  and  a grove 
of  second  growth  trees  thrust  their  feathery  branches  against  the 
evening  sky  that  is  filled  with  pale  green,  lemon,  and  rose  tints. 
Through  the  trees  the  spectator  glimpses  a sky  that  glows  with 
rose  and  yellow  lights  from  the  unseen  sun.  Despite  the  hot  light, 
so  feelingly  rendered,  there  is  a softness  in  the  whole  atmosphere 
of  the  painting  that  comes  from  the  emotional  suggestion  of 
springtime  and  its  tender  awakening  both  in  nature  and  man’s 
thoughts. 


No.  23 

CERNEY  LA  VILLE 

Size:  24  x 34  inches 

DWIGHT  W.  TRYON 

Without  the  wall  of  a French  farmhouse  enclosure  a peasant  in  a 
pale  blue  smock  is  spading  up  a bit  of  garden  and  a fire  of 
refuse  is  burning  at  his  left,  the  while,  the  smoke  rising  up  against 
the  grey  wall  and  dull,  olive  thatched  roof  of  the  farmhouse.  The 
stable  wall  and  roof  fills  the  picture  to  the  right,  a low  growing 
tree  screening  its  angular  lines,  and  above  the  gable  of  the  stable 
a pointed  tower  lifts  into  the  clear  evening  sky  touched  with  the 
reddish  glow  of  the  sinking  sun.  The  canvas,  dated  1881,  is  full 
of  the  promise  of  the  poetry  which  has  dominated  Mr.  Tryon’s 
later  canvasses. 


No.  23 


No.  24 


No.  U 

MOONLIGHT:  EVENING 

Size:  20  x 30  inches 

DWIGHT  W.  TRYON 

From  the  foreground  a flat  green  meadow  land  stretches  away 
to  a line  of  trees  that  stand  at  the  foot  of  a range  of  hills  which 
form  the  intermediate  plane  of  the  picture.  Two  groups  of 
Try  on’s  characteristic  feathery  trees  break  the  monotony  of  the 
meadow.  Out  of  the  evening  mist  above  the  hilltops  rises  the  full 
hot  summer  moon  below  a sky  of  delicate  emerald  blue  flecked 
with  rosy  clouds  that  is  still  lighted  toward  the  zenith  with  the 
afterglow  from  the  sunset. 


No.  25 

ALONG  THE  SHORE 

Size:  16  x 24  inches 

DWIGHT  W.  TRYON 

This  early  canvas  of  Mr.  Tryon’s,  it  bears  the  date  of  1884,  por- 
trays a familiar  scene  along  one  of  our  Atlantic  salt  water  bays, 
a place  where  man  has  been  but  is  now  neglectful  of  it.  Where  a 
meadow  comes  down  to  the  sandy  foreshore  of  such  a bay  there 
are  the  weathered  remains  of  an  old  rail  fence,  and  old  grey  skiff 
is  hauled  out  and  abandoned,  and  some  posts  to  which  such  boats 
once  were  tied.  The  green  meadow  beyond  is  dotted  with  bushes 
and  two  trees  stand  out  against  a lovely  soft  blue  sky  that  is 
partly  screened  by  cumulous  clouds  of  a bright  summer’s  day. 


No.  26 


No.  26 

SUNSET 

Size:  lS1/^  x 18  inches 

DWIGHT  W.  TRYON 

The  graceful  forms  of  half  a dozen  slender  tree  trunks  just  feath- 
ering out  with  the  budding  time  march  across  the  center  of  the 
composition.  A rough  emerald  meadow  with  grey  boulders  fills 
the  foreground  and  behind  the  trees  the  land  rises  to  a higher 
level  where  there  is  a thicket  of  trees.  The  characteristic  Try  on 
sky  is  flushed  with  warm  light  of  the  sun  that  has  sunk  below 
the  horizon. 


No.  27 

THE  LAKE 

Size:  12  x 22  inches 
DWIGHT  W.  TRYON 

In  a cup  of  the  hills  lies  a lake  that  the  spectator  partly  glimpses 
through  a mask  of  bushes  which  fill  a break  between  two  clumps  of 
second  growth  trees.  In  the  foreground  is  a bit  of  wild  upland 
with  outcropping  rocks,  and  beyond  the  lake  a heavily  wooded 
hillside  rises  up  to  a lovely  evening  sky  flecked  with  mauve  and 
reddish  cloudlets. 


No.  27 


No.  28 


No.  28 

OCTOBER  DAY 

Size:  24  x 36  inches 
J.  FRANCIS  MURPHY 

A masterly  example  of  this  painter’s  latest  manner  is  this  autumn 
landscape.  Beneath  a moist  sky  of  yellow,  grey,  and  mauve  tones 
lies  a broad  expanse  of  flat  meadow  land,  all  pale  green  and  still 
paler  brown  tints.  The  surface  is  diversified  by  a little  pool  at 
the  left  whose  moisture  has  nourished  a clump  of  low  bushes  be- 
yond which  is  seen  a line  of  trees  and  across  them  blows  the  grey 
smoke  of  a brush  fire.  At  the  right  is  a dense  grove  of  trees 
behind  an  old  rail  fence  which  curves  away  into  the  distance. 


No.  29 

SUNSET 

Size:  14  x 19  inches 
J.  FRANCIS  MURPHY 

The  austerity  of  Mr.  Murphy’s  more  recent  canvasses  is  absent 
from  this  glowing  evening  scene  which  yet  preserves  his  passion 
for  simplification.  The  dusky  clouds  of  oncoming  night  have 
parted  at  the  horizon  and  out  through  the  break  shines  a band 
of  sunlight,  white — hot  in  brilliance.  It  touches  the  clouds 
towards  the  zenith  with  its  flushed  light  that  is  reflected  in  the 
pool  in  the  foreground,  turning  it  into  a sheet  of  gold.  An  old 
time-worn  wall  cuts  across  the  landscape.  Two  low  trees  at  the 
left  form  distinct  notes  in  the  wide  expanse  and  there  is  indicated 
a grove  of  trees  and  a line  of  low  blue  hills  in  the  remote  distance. 


No.  29 


No.  30 


AUTUMN 

Size : 16  x 22  inches 
J.  FRANCIS  MURPHY 


One  of  Mr.  Murphy’s  earlier  canvasses,  it  bears  date  of  1895, 
when  his  palette  was  more  varied  than  in  these  later  times.  A 
green  meadow  is  in  the  foreground  with  a tiny  pool  of  rain-water, 
and  a group  of  russet  trees  is  at  the  extreme  right.  The  white 
gable  end  of  a cottage  shows  above  a rise  of  ground  at  the  right 
and  arching  over  the  whole  landscape  is  a stormy,  “smoky”  sky 
lightened  towards  the  zenith  with  patches  of  white  clouds  and 
gleams  of  blue  sky  behind  the  wind-driven  clouds. 


No.  31 

ON  THE  BEACH 

Size:  30  x 48  inches 

WILLIAM  MERRITT  CHASE 

Under  one  of  those  crystalline  blue  skies  that  come  with  a north- 
west wind  in  this  latitude  in  summertime,  a young  mother  and 
her  two  children  are  seen  strolling  across  the  dune  land  of  Chase’s 
beloved  Shinnecock  country.  Their  white  and  red  costumes  give 
charming  notes  of  artificiality  to  a scene  that  glows  with  nature’s 
hues,  in  the  meadow  flowers  of  the  foreground,  the  tender  green 
of  the  stunted  bushes,  the  deep  blue  water  of  the  bay,  and  the 
white,  green,  and  dull  blue  of  the  distant  sand  hills.  The  north- 
west wind  is  beginning  to  puff  billowy  clouds  up  across  the  sky 
from  the  horizon,  those  in  the  center  of  the  canvas  being  touched 
with  white  and  accents  of  purple.  A lovely  example  of  a phase 
of  Chase’s  art  in  which  he  was  at  the  height  of  his  power  to 
charm  the  spectator. 


No.  32 


No.  32 

SHADOW  AND  SUNLIGHT 

Size:  9 x 14  inches 
GEORGE  INNESS 

This  landscape  by  the  great  American  painter  is  distinguished 
among  most  of  his  pictures  by  the  superb  blue  sky  that  is  its 
dominating  feature.  The  meadow  land  in  the  foreground,  the 
line  of  trees  breaking  the  planes  of  the  composition,  the  gleam 
of  sunlight  falling  on  the  houses  and  hillside  beyond — these  are 
all  familiar  elements  of  many  of  his  works,  but  when  he  painted 
the  sky  he  made  this  panel  a picture  apart  from  his  conventional 
representations.  Its  splendid  glow  of  color  at  the  right  of  the 
picture  fades  into  paler  tints  broken  by  white  clouds  in  the  center 
where  the  sunlight  finally  conquers  the  cloud  enemy  and  bursts 
through,  glorifying  land  and  trees  and  houses  beneath. 


No.  33 

SUNSET 

Size:  6 x 8 inches 

RALPH  W.  BLAKELOCK 

This  small  but  wholly  characteristic  scene  by  Blakelock  contains 
all  the  elements  which  brought  him  fame  after  he  was  unable  to 
enjoy  or  profit  by  it.  Through  an  opening  between  two  trees 
on  either  side  of  the  canvas  the  eye  is  carried  across  a flat  land- 
scape to  a sunset  sky,  all  a splendor  of  crimson,  yellow,  and  pale 
green.  Tawny  clouds  float  in  the  zenith— harbingers  of  oncoming 
night — and  the  foreground,  shut  from  the  light  of  day,  is  dusky 
with  night’s  shadow. 


No.  33 


Arranged  & Printed  by 
Lewis  W.  Goerck 
925  Sixth  Ave.,  N.  Y. 


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